It’s a story dancers live over and over again: They fall in love with dance at a young age (through the obligatory three-year-old ballet class everyone takes, of course) and train throughout their entire childhood, only to part ways with their passion to choose a profession.

The trailer for The Vagrancy’s 2016 production of Macbeth presents three figures — lovely but feral, they are more than women; they are witches, restored through expert lighting, fine sound design, and powerful choreography to their rightful place, which is in our nightmares.

In “Signs and Symbols,” Vladimir Nabokov wrote of Aunt Rosa, “a fussy, angular, wild-eyed old lady, who had lived in a tremulous world of bad news, bankruptcies, train accidents, cancerous growths — until the Germans put her to death, together with all the people she had worried about.”

Is there a place in the post #metoo cultural moment for a workplace comedy in which the narrative builds around a “sexist, egotistical, lying, hypocritical bigot” of a boss who runs roughshod over his female employees, inspiring both imagined and real revenge fantasies that involve poisoning, shooting, and stringing him up?